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The economic, social and cultural contributions of the creative industries are essential elements of many societies and their governments' policies. However, there is growing evidence that precarity, competition and lack of regulation within these industries is exacerbating inequalities with respect to gender, race and class. With a focus on gender and sexual harassment among female workers, this study involved 32 in-depth interviews with women working in the Netherlands' creative industries. Data were analyzed using content analysis. Findings suggest that sexual harassment is prevalent, and many women considered it to be part of their occupational culture and career advancement. Four factors influenced this phenomenon: competition for work; industry culture; gendered power relations; and the importance of informal networks. Implications include the need for a climate of non-tolerance, sector-specific research and guidelines, sensitivity training and further work with unions and professional associations to provide worker protection strategies traditionally undertaken by organizations. The article concludes that effective sexual harassment prevention requires action at the individual, educational, sectoral and governmental levels, beginning with public conversations to convey the message that sexual harassment is never acceptable.

making safe spaces to do dangerous work

Fifteen years ago, Lisa, a dance conservatory student, became pregnant. She was told in no uncertain terms by her school’s directors that abortion was recommended, and that she wouldn’t be allowed to continue attending the conservatory otherwise. It was made clear to her that the fact that her pregnancy would be in its seventh month at the time of graduation...

French Abstract: Lorsqu’une victime dénonce son agresseur sur la place publique, certaines personnes tentent de la réduire au silence en invoquant le droit à la présomption d’innocence. Ce fut particulièrement évident en 2014, lors du mouvement #AgressionNonDénoncée ; ce le fut encore à l’automne 2015, alors que des femmes autochtones de Val-d’Or dénonçaient les agressions sexuelles commises à leur endroit par des policiers ; ce le fut aussi en 2016 à l’occasion de la dénonciation du député Gerry Sklavounos par Alice Paquet ; et l’argument légaliste réapparaît ainsi périodiquement sur la scène publique. Pourtant, peut-on vraiment bâillonner une victime en mettant de l’avant les droits de son agresseur ? L’auteur estime qu’il s’agit là d’un mauvais usage de la présomption d’innocence. Dans ce texte, il explique que la présomption d’innocence doit être replacée dans son contexte juridique. Le droit à la présomption d’innocence est un principe fondamental qui protège les accusés contre le pouvoir punitif de l’État. Il trouve uniquement application dans le processus pénal et n’est pas conçu pour être employé sur la scène publique. De plus, l’auteur explique que, dans le cadre du processus pénal, la présomption d’innocence favorise la création d’un espace de discussion où les parties peuvent débattre de la culpabilité. Pourtant, lorsqu’elle est invoquée sur la scène publique, elle ne fait que placer les victimes dans un processus violent de remise en question de leur crédibilité, tout en protégeant les agresseurs. Son invocation crée une atmosphère qui décourage les dénonciations. Le débat public dévie, laissant peu de place pour critiquer nos systèmes de plaintes dysfonctionnels et la culture du viol. En ce sens, la présomption d’innocence n’est pas invoquée afin d’établir un dialogue constructif, mais plutôt pour faire taire les critiques.English Abstract: When a victim reports her aggressor publicly, some people try to silence her voice under the guise of the right to the presumption of innocence. This was especially remarkable in 2014, within the movement #AgressionNonDénoncée; and again in the fall of 2015, when Val-d’Or Indigenous women reported being sexually assaulted by police. It was also the case in 2016 when Alice Paquet denounced Member of Provincial Parliament Gerry Sklavounos, and the legal argument thus periodically reappears on the public stage. However, can we really silence a victim by advancing the rights of her aggressor? The author believes that this is a case of inappropriate use of the presumption of innocence. In this text, he explains that the presumption of innocence must be placed in its legal context. The right to the presumption of innocence is a principle that protects litigants against the punitive power of the state. Its sole application belongs in the criminal process, and it was not designed to be used as such on the public stage. In addition, the author explains that, at the heart of the criminal process, the presumption of innocence promotes the creation of a discussion space where all parties may debate the guilt. However, when it is invoked in the public sphere, it only places the victims in an aggressive process of questioning their credibility while protecting the aggressors. Its invocation creates a climate that deters denunciations of sexual assaults. The public debate deviates, leaving little room to criticize our dysfunctional complaint systems and rape culture. In that sense, the presumption of innocence is not invoked in order to establish a constructive dialogue, but it has the effect of shutting down its critics. In this article, the author explains why the right to the presumption of innocence must not be engaged in this way in the public sphere.

<em>Gale</em> Academic OneFile includes Indian women journalists' responses to sexism and by Kalyani Chadha, Linda Steiner, and Pall. Click to explore.

What is it like to work as a classical musician today? How can we explain ongoing gender, racial, and class inequalities in the classical music profession? What happens when musicians become entrepreneurial and think of themselves as a product that needs to be sold and marketed? Gender, Subjectivity, and Cultural Work explores these and other questions by drawing on innovative, empirical research on the working lives of classical musicians in Germany and the UK. Indeed, Scharff examines a range of timely issues such as the gender, racial, and class inequalities that characterise the cultural and creative industries; the ways in which entrepreneurialism – as an ethos to work on and improve the self – is lived out; and the subjective experiences of precarious work in so-called ‘creative cities’. Thus, this book not only adds to our understanding of the working lives of artists and creatives, but also makes broader contributions by exploring how precarity, neoliberalism, and inequalities shape subjective experiences. Contributing to a range of contemporary debates around cultural work, Gender, Subjectivity, and Cultural Work will be of interest to scholars and students in the fields of Sociology, Gender and Cultural Studies.

This article brings to attention and explores women?s use of non-traditional forms of resistance to online sexual harassment. In this piece we use Anna Gensler?s Instagram art project Instagranniepants to examine how women are appropriating the language and practices of the cyber realm to expose online sexual harassment and to engender a creative resistance which is critical, comedic and entertaining. Drawing from interdisciplinary literature on witnessing, satire and shaming, we explore the techniques Gensler uses to not only document harassment but also resist, engage and punish those who seek to perpetrate it. This article problematises the stereotype of women as passive victims of online public spaces, and is critical of popular discourses that portray online spaces as exclusively risky and that position women as the natural victims of online violence. It concludes that a more nuanced account of women?s negotiation of online spaces is necessary, particularly as an overarching narrative of risk and victimisation undermines the liberatory potential of the online realm.

Women frequently experience unwanted sexual touching and persistent advances at bars and parties. This study explored women?s responses to these unwanted experiences through online surveys completed by 153 female bargoers (aged 19-29) randomly recruited from a bar district. More than 75% had experienced sexual touching or persistence (46% both). Most women used multiple deterrent strategies, including evasion, facial expressions, direct refusals, aggression, friends? help, and leaving the premises. Women experienced negative feelings (disrespected, violated, disgusted, angry, embarrassed), especially from incidents involving touching. Cultural change is needed to reduce substantial negative impacts of sexual harassment on women in drinking and other settings.

Up-and-coming Los Angeles comedian reflects on her experience of assault among some of the funniest people on the planet

The economic, social and cultural contributions of the creative industries are essential elements of many societies and their governments’ policies. However, there is growing evidence that precarity, competition and lack of regulation within these industries is exacerbating inequalities with respect to gender, race and class. With a focus on gender and sexual harassment among female workers, this study involved 32 in-depth interviews with women working in the Netherlands’ creative industries. Data were analyzed using content analysis. Findings suggest that sexual harassment is prevalent, and many women considered it to be part of their occupational culture and career advancement. Four factors influenced this phenomenon: competition for work; industry culture; gendered power relations; and the importance of informal networks. Implications include the need for a climate of non-tolerance, sector-specific research and guidelines, sensitivity training and further work with unions and professional associations to provide worker protection strategies traditionally undertaken by organizations. The article concludes that effective sexual harassment prevention requires action at the individual, educational, sectoral and governmental levels, beginning with public conversations to convey the message that sexual harassment is never acceptable.

This paper explores young adults' suggestions for preventing unwanted sexual attention in licensed venues. Despite emerging evidence that unwanted sexual attention and sexual violence are significant issues faced by young adults in the night-time economy, there has been little introduced in the way of preventative strategies or campaigns. Drawing on a mixed-methods research project undertaken in Melbourne, Australia, I contend that exploring young adults' suggestions for prevention is instructive in a number of ways. Young adults are the primary users of licensed venues and thus may provide insight into potential strategies for prevention. It can also illuminate the discursive positions that young adults draw on in talking about prevention and their understandings of unwanted sexual attention.

"Dangerous men" at the top of the industry are abusing their power, the BBC has been told.

Singer paused the show after witnessing the incident from the stage

Sweden's biggest music festival will be replaced next year by a women-only alternative after reports of a series of rapes and sexual assaults at this year's event.

This paper addresses how feminist interrogations of research methods and knowledge claims have an important role to play in the collection and dispersion of quantitative data. Taking the contemporary film industry as a historical formation, and seeking to identify and understand patterns of continued gendered inequality, we consider the methodological and ethical dilemmas we have experienced as feminist researchers gathering and presenting quantitative data on the numbers of women working in the UK film industry between 2003 and 2015. We argue that data plays a paradoxical role in creating a sense of women’s absence and arrive at a set of guiding principles for feminist quantitative research in film histories.

Background Australian and international street-level drug law enforcement deploy many strategies in efforts to prevent or deter illicit drug offending. Limited evidence of deterrence exists. This study assessed the likely impacts of four Australian policing strategies on the incidence and nature of drug use and supply at a common policing target: outdoor music festivals. Methods A purpose-built national online survey (the Drug Policing Survey) was constructed using five hypothetical experimental vignettes that took into account four policing strategies (High Visibility Policing, Riot Policing, Collaborative Policing, and policing with Drug Detection Dogs) and a counter-factual (no police presence). The survey was administered in late 2015 to 2115 people who regularly attend festivals. Participants were block-randomised to receive two vignettes and asked under each whether they would use, possess, purchase, give or sell illicit drugs. Results Compared to ‘no police presence’, any police presence led to a 4.6% point reduction in engagement in overall illicit drug offending: reducing in particular willingness to possess or carry drugs into a festival. However, it had minimal or counterproductive impacts on purchasing and supply. For example, given police presence, purchasing of drugs increased significantly within festival grounds. Offending impacts varied between the four policing strategies: Drug Detection Dogs most reduced drug possession but High Visibility Policing most reduced overall drug offending including supply. Multivariate logistic regression showed police presence was not the most significant predictor of offending decisions at festivals. ConclusionConclusion The findings suggest that street-level policing may deter some forms of drug offending at music festivals, but that most impacts will be small. Moreover, it may encourage some perverse impacts such as drug consumers opting to buy drugs within festival grounds rather than carry in their own. We use our findings to highlight trade-offs between the goals of public health promotion and crime control in street-level enforcement.

This report demonstrates that male advantage is a pervasive feature of the Australian music industry. Using publicly available published data the report interrogates the industry dynamics that have produced a contemporary music scene in which radio playlists, festival line-ups, industry awards, peak bodies and major industry boards are dominated by male contributions and voices. We make 5 key recommendations, discussed in more detail in the report, to begin the process of addressing the industry’s chronic gender inequality: 1. Collect more and better data on the music industry on a gender disaggregated basis; 2. Establish a well-resourced independent gender equality industry advocacy body; 3. Use gender equality criteria in deciding public funding outcomes; 4. Increase women’s representation in decision-making structures; 5. Address gender bias in the Australian music industry by prioritising inclusivity and representation as core industry values (for example through funding and implementing training programs). The music industry is skipping a beat when it comes to gender equality. We hope that our report will stimulate industry thinking and action for change.

Gaining accurate information on illicit drug use and policing in real-world settings is a challenge. This study examines the utility of a smartphone app (‘Going Out In Sydney’) to prospectively follow up illicit drug use and policing encounters at music festivals and licensed entertainment precincts in Sydney, Australia. In all, 38 regular festival and licensed entertainment venue attendees used the app to log nights out over a 3-month period, including (1) where they went (eg, festival, nightclub), (2) the prevalence of illicit drug use, and (3) the incidence and nature of police encounters. A survey and interview were then conducted about the utility of the app. The app enabled rich data collection (n = 353 entries) about illicit drug use and policing at both target settings. Follow-up surveys indicated that most participants were extremely satisfied with the ease of use of the app and privacy afforded, and compared with other data collection modes, such as paper-based logs and online surveys, rated the app the most desirable method of data collection. This suggests smartphone apps may be a viable option for future studies on illicit drug use and policing of drugs.